There are some emerging technologies that incorporate 3D audio in sound bar designs, so 3D audio is technically possible with stereo loudspeakers through crosstalk cancellation. Lastly this won’t cover programming environments like Unity or Unreal, but definitely be aware that these concepts very much apply to those environments! I’ll also be referring to the Pro Tools environment as it is commonly used, though emerging DAWs like Reaper are quickly becoming used for 360 production. Does producing 360 audio content mean having to learn something completely from scratch? Is it a considerable investment? The goal of this tutorial is to unequivocally say “No!” to all of that and provide a practical pathway to navigate this exciting new era of audio production.īecause of the multitude of directions one could go in when first getting into immersive sound, I’d like to focus more on the post-production aspect of 3D audio than the recording, as it utilizes tools that we most likely already have. Seeing as how the opportunities that are presented to musicians, producers, sound designers, engineers and virtually anyone who works with sound are growing as fast as the immersive media market, it seems like we have to filter through a mess of information to get started. Fortunately for us, there are many people hard at work to make the jump into 360 audio production both understandable and doable in our existing production environments. Then the web searches ensue, only to find a huge and often intimidating wealth of terminology, applied physics concepts, research papers, and software options. The concept of spatial audio might sound straightforward on the surface, but anyone with an audio background would naturally want to stop and think what that actually means. With the rise of virtual and augmented reality, 360 videos and every immersive media format zipping its way down the pipeline, the need for realistic, immersive audio is bigger than ever before.
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